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Buyers | 


E.T.Richards 
W.W.Seaman, Agt. 
Capt .MeMillin 
David N.Taylor 
Rehn Galleries 
Edw. J.Lownes 
W.W. Wheelock 


- Howard Young 


Miss Lorenz, Agt. 
E.J.Lownes 
F.M.eCrossman 
W.W.Seaman, Agt. 
Ralston Galleries 
Y.Arai 

E.A.Milch 
H.Gauss 

W.D. Breaker 
P.W.Rouss 

Thos .W.Dunbar 
A.W. Bahr 

W.D. Breaker 

nw ee 


Thos .W.Dunbar 
A.W.Bahr 

Ll id 

E.J.Lownes 
Holland Galleries 
C.W.Kraushaar 
W.D.Breaker 
EeA.Milch 

A.W. Bahr 

Holland Galleries 
Macbeth " 
¢.D.Huyler 
EeJ.Lownes 
Chas.H.Graff 
Timothy F.Crowley 
Macbeth Galleries 
M.Knoedler & Co. 
E.A.Milch 

D.W. Tryon 
AeW.Bahr 
WeH.Wheelock 


’ 


919. : 


Buyers 


P.W.Rouss 

John Bossert 
A.W.Bahr 
E.J.Lownes | , 
Otto Bernet, Agt. 
Capt McMillin 
Ferdinand Howald 
Otto Bernet, Agt. 
Fred.W.Snow 
Charles H.Talcott 
W.W.Bahr 

Howard Young 
W.D.Breaker 
A.W.Bahr 
W.D.Breaker 
M.Knoedler & Co. 
W.D. Breaker 
E.J.Lownes 
C.W.Kraushaar 
Macbeth Galleries 
Howan! Young 

Otto Bernet, Agt. 
Rehn Galleries 
A.W. Bahr 

GH. Fuerth 
E.TsEliis 
Macbeth Galleries 
Holland Galleries 


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t Works by. Impres- 
nd Poet Painters In- 
in Collection, 


ciao tomake new. esti- 


the leading artists of the pe- 
: mee said to have ended with 


reasons the auctions lag 
hind the taste of construc-| 
“Mr. Montross knew and/| 
’ gauged Albert P. Ryder more 

a dozen years ago, but the auctions 
re not yet fully felt the dynamic force 
ike dollars that shall some day be 
for yders. Perhaps this auction 
disclose a hint of it, for there are 
Ryders. of price in it. The half a 
| greatest of all Ryders, each of 
is €asily capable of shocking in- 
‘ienced auction audiences with $20,- 
bids—as a Blakelock ‘Moonlight’ 
ah years ago—fell long before 
; known but to the few, into 
locked and far away collections, 60 
worth while “records,” while alone 
aie. reputations legible to the 
‘publics, were not possible in Ry- 
Wor the same reason the reg! 

x ion of “Vinsiow Homer 


8 ‘yet occ 
This will i one sale, for a wonder, in 
Innesses will not figure. Inness| 
agharese too old for Mr. Montross, 
collection has stronger bearings 
- American impressionism than 
cable Morten’s, to be sold here. 
ness’s place will be taken by the 
_&. Francis Murphy, of whom 
@ several examples, all in Mr., 
'S admired yellow mood. | 


ative Faculty tn Evidence. 


as. to the Ryders! One of them, 
andscape with an old mill in moon- 
is the weird, occult type 
ty wit in witchcraft, and of the 
with the same artist’s “Flying 
chman” and ‘Sfonah,” though not of 
i relative importance. The mighty 


between two 
eae below be banl 
mak titel linés, giving a com 
tion so simple and strong that only 4 
| ®en : Bega ‘e Pes At oz. 
Pe n greater value to collectors is | 
“Ryder’s “White Horse,” meant doubt-| 
less by the artist_as a simple essay in 
‘Tealism, but which. became: unconsciously. 
& remarkable poem in paint, all the’ 
mere remarkable as it is a regular 
_ tour de force in technic. The ‘spotting 
of accenting shadows has been accom-. 
| plished as in a miracle, The eye pierces 
| the dingy depths of the subterranean 
Stable with delight in the translucent 
' tones, and the charm of the color can- 
“not be analyzed. Then, too, there is 
\something very touching in the artist’s 

| unconcealed love for the old white horse, 

“which as a matter of fact. was as 
Shambling as the famous Rozinante of 
Don Quixote. 

With Ryder still another poet painter, | 
Arthur B. Davies, will. be put to the 
_ auction test. Possibly because he is, 
| younger than the\Ryder we know Davies, 
has never questioned the\ Sphinx, eel 
him, in regard to the mysteries of life 
but has been content to sing of its joys. | 
It isthe fashion to say that Davies} 
is Mozartian, but it is equally true to 
Say that he is Greek, or anything else 
| that is care free, young and melodious. 
L There never was one of our men to be 
) quite so eclectic as he, and even in the 
| present group of eight pictures no two 
| respond to the same mood nor have 
. the same provenance. { 
, ‘The “Forest’s Festival,” with the clear | 
' sound of the trumpet ealling to the revel, 
| has the feeling of a tapestry ; the little 
| “Breath of Autumn’ is a Limoges 
- enamel while “Reluctant Youth” might | 

be the young Emily Dickinson herself, 


| Bret: chancing the adventure of her ro-| 

mantic garden. In the “Greater Morn} 
Line” Davies sounds with genuinely: 
| Mazartian strain the beginnings of his-} 
Ee with an Adam and an Hye awak- 
6 


ing to a-day ihat loses nothing of its 
splendor for being painted with aston-. 
;ishing realism. . 


Impressionists on View. 


- The impressionists who are prominent 
iin this callection are Childe Hassam, 
iDwight W. Tryon, John H. Twachtman, 
T. W. Dewing and William M. Chase. 
Of the eight Hassams the most impress- 
ive Is the “‘October’s Gold,” possibly the 
} finest Hassam that has been sent to the 
jauction block. It is a tall panel showing 
a hil. The trees, the rocks and rills 
have been distributed over the canvas 
with the certainty of a Puvis de Chavan- 
nes, and the color is wholly delightful. 
The “Winter Garden’ by the same painter 
is even more striking in effect, but the 
“October's Gold” has a rare something 
in it that no artist ever gets twice. 
The landscapes by Tryon are from the | 
early part of his.career, for the most 
part publishing a simple and genuine 
love of nature. The themes are some- 
times classic, such as the green meadow 
itwith the bridge over the brook, but the 
lenthusiasm of the painter is contagious. 
The Chase canvas is one of the famous 
fish still Hfes, and an unusually fine 
one; the Dewing is a characteristic 
woman in evening dress painted with the 
artist's search for pearly harmontes. 
JThe one example by Twatchtman is one 
of his gray river scenes, painted with 
great restraint but full of special 
charm, ' 


pS an a an ORS EN le PO, AE De eee ST Rae 


Phase is called a eBtosta” and the lazy| 
lanimals at noonday ease are half in and 
|half out of the shadow of the barn, giv-| 
ing the painter a happy composition and j 
inspiring him > some most clever paint- 
‘ing. There is but oné Winslow Homer, 
@ water color called “Waiting.” It shows 
| a@ woman sitting out doors and fs painted 
|with the downright honesty of Homer's 
|early period. A small composition by 
Elihu Vedder called the “Mistral” shows 
two figures of the romantic middle ages, 
|the ribbens of the woman’s cap blowing 
|about tn the wind that gives the title to | 


we the picture. 


Fine Sunset and Moonlights. 


The only one present of the trio Inness, | 
'Martin and Wyant, who used to shine in} 
ithe earlier American collections, is 
Wyant, but his landscape, a “Sunset,” is| 
So beautiful that it will be sure of wide 
appreciation. ‘The two Blakelocks both | 
|are moonlights, though different the one} 


from the other. A “Head” by George De | 


| Forest Brush is dated 1885 and shows] 


the intense finish and esarching char-| — 
acter study he put into hig work at that | Ki 


time. 
The collection has no padding and| 


bears the tmpress throughout of the] 
jOwner’s taste. The works hang together | 
remarkably well, So, in addition to the/ 

paintings mentioned, the following works | 


should be noted: “Harmonies,” by FE. H. 


PRaRReld: “Meadow Mists,” ‘by Elliott 


_Daingenfield ; 
c. ‘Minor. 


\The sale occurs on February 27 In the | | 


ballroom of the arated: Sosa oe 


OR A EP 


gar J, Lownes ea 
Incoming Wave,” 
eee heer eee rie ae 


“Open Sea,’? How- 


Lorenz... 
ao Me Seats, ABtHiT Water,” Miss . 
wines Crane, “fipening Grain” Hy 
is sag See wee an ree 
Mt rry Chase, * “Boats” ‘at. Schevenin- syle las 
Ben,” F. M. Crossman...iv...00: 230. 
M. Shurtleff, “Pool in. the Wood, ” 


- ia W. Seaman, agent........5. 180 
| Dwight W. Tryon, “An aanioer Day," ” 
Ralston Galleries. Paha ci a eeake CAG 300 


ie a te. Vries eat okt oe oF ASOe 
|. Po aa Mowbray, “Lai,” ae f 


Spanier Lita SSR oe GPU SORTS OGG a 49 SA ROSE 156 
wis Francis Murphy, “Meadow 
Streams,’ PP, W. Rouss. Sea e 519 


afi F 3h Fe es aD th Dewing, “Young Woman,” 
sir Seller to Pay (PPR OMLES (We DPD ST ici sg aed aia wales BOD 
a ey | Arthur B. Davies, ‘The Searcher,’ 
tale) Laie . Ae 2 age cis hs yaa 150, 
a abe Dwight W. Tryon, “Apple Blossom 
* fi2 Dime, Was WD, Breaker icin wigs 430 | 
J. Francis sega ae “Across” the | 
j. Fields,” WwW. Breaker. ...i.<.056 535 
| Dwight W. Drier. “Village Street,” 
Thomas W. Dunbar sleiee OU LOE Ue ae 280 


| Biliott Daingerfield, “Moon Rising 
| Over Fog Clouds,” A. W. Bahr.... 100 
heal oa Daylon, “Landscape,” <A. a 
NE, ole euE a Ln oe eee 

é Ponting The edtg aad boxed: i A. H. Wyant, “Sunset,” E. J. Lownes 825 
4 ae gs and hind dee ‘were lvid'oad tt. Ww. 


Dewing, ‘The Waiting Ath- Paste 
>’ Holland Galleries.........2% BE0 
ert Pinkham Ryder, “Tandscape, 
With Old Mill, in Moonlight,”’ G: 


and. was. ade. ang 


dean and was made up, = | W. Kraushaar.....c.csccccveeseee 1,626 

5 eitety by the impression. | lock, “Mfoonrtse,” ee 
4 ers « o 2 $9 3 ae 

nan in vogue; -hence the ‘waiting. fect Be ‘ee 


“Call: “of : 
dpe nit 250 


to theirs, elther, aiebeie ‘the resulta o 
i “of last” night's. auction were considered | 998; Se se 
pri pontly, ee, ‘upon the whole. | | B.S. Lowes. oe. vv ay 


New Price Records Made. | | 
its ‘ew records were established. | J. Francis Mu 
ae Tryon landscape, “Near the | ‘Ohilde tascam. © ts “ecg 
«oy aad sold to the Macbeth | | wcester,” dler & Co...° 
e for $5,100, which is a nev 
j evel for him. Horatio Walke: 
lalso got an auction record with his’ lArthur B, Ds “Forest's Fest! 
{ ughing in in Arcadia,” which went to ee A. W. Bahr... . 5 see seeeness 
‘oup of Pincarne sold atoemisy well, 
none reached the price paid for one 
3 works in the Reisinger sale. The 
Wi ‘Dewing “Green and Gold’ sold: 
) Rehn aul oe ens Bat 
‘gave $ he -Rob- 
va beer landscape. | 
At the beginning of the auction Mr. 
shed announced that the new tax of 
cent. levied by the Government 
7 oes s of art, which went into effect 
Oe Bes: previous, had caused some un- 
ertainty as who was to pay the tax, 
ae buyer or the seller. Under the cir- 


eee Mr. Montross, he said, had 
r to assume all ahaa baile for 
taxes, : 


; a thea ‘oles. 


‘@ W, Maynard, “an Offering, * 
PMs vs Lae To se ay EA Eee Cpa aaa aN Re Ea $60 


pee deere en ewer toate ars © 


DOPE, “Breath of erat 


i tamn’ A. W, Bahr. 

Aaa a Little Lotterer,” W. i J. race Murphy, “An old House,” ) 
MIGEIIA TN: BRENT 6 oh 4 a ke alee ey» A 4 D, Breaker.......+-. eeteres 1,100 
nt W. Tryon, “In” Picardie,” | “anbert Pinkham Ryder, Dancing | 

McMillin. Peas wits A 623 | Dryads,”” Knoedler & Co,...... ++. 92 

Crane, “Lowland Grasses,” | | Chitde Hassam, “A° 1 News Depot, 5 
Tay OLS Sev v es ace oe ies es 800 Gos Cob,” Ww. fi bE Breakers cia vice 7 | 


‘ 


VA MoriteOss~Ptturé Sale /M*V gs - 
sale in the Plaza Ballroom Thursday 
ning Feb. 27 last of 71 modern Ameri- 
pictures owned by Mr. N. E. Montross 
the Montross Galleries, No. 550 Fifth 
and the story of which could not be 
ished in the Arr News of Mar. 1, which 


tby of the American Art 


| possessions, did not realize, in all proba- 


aii. as much as if the canvases, all of 
superior quality, had come from,a private 
owner, and yet the sale result, considering 
this fact, and the added ones that the sale. 
was held under the shadow of the coming 
heavy income taxes, that the new tax un-. 


doubtedly had a disturbing effect on the 
ence, and that the eight examples of 
ur B. Davies, whose works are not’ 


{names and prices follow: 


familiar in the auction rooms, and the two 
f Daingerfield, were bought by Mr. 
. W. Bahr for comparatively low figures, 


pulled down the total. - 
_ Some of the pictures, and notably the 


fine example of Dewing, also not-an auction 
_ room favorite, and two or three examples of 
~D. W. Tryon made auction records, as did 
the large and striking “Ploughing Arcadia.” 
_ by Horatio Walker secured by the Hollana 
Art Galleries and really a Museum piece. 


titles, size, height first, width next, buyers’ 


O Artist Buyer 


~ The pictures sold with artists’ names, | 
Title 


1. Maynard, G. W., “An Offering,’”’ Panel, 
Meneame ege hy  L, eRichard 24. 60s.+00 06 $60 
ey eow, VY. fi., “A> Little. Loiterer,’”’. 15x18, 

feo Socata, At. es. Fey ARRON te cee «4 60 
Parr vone lo We 1 in Picardie;, 16x24, 
ES Aer, MUTUIT So. c ec wise as ees 625 
4. Crane, Bruce, **Lowland Grasses,’ 16x24, 

s ara IMM DA VIOT  .cccs cle ceca ewcee es 300 
‘Periostarop,= VWs l., “Summer Afternoon,” 

. Pie mig eliie (rallerieS 7.26.5... cee eo 280 
6. Whittredge, Worthington, ‘‘Brook in the 


W oods,’”’ 14x12, Kdgar J. Lownes .... 130 


7. Rehn, t’. K. M., “lncoming Wave,” 16x- 
eat, WV. kd; Wheelock .7.....'. Pi cons 520 

8%. Tryon, D. W., “Upen Sea,’’ 11x22, How- 
PUP GUEY EUINES cu cls oe dy 57s 4 as See ee 175 

9; Jones, Holton H., ‘Still Water,” 16x24, 
JL USES dic aeidleas JE Veg eae oo eee ame 510 

10. Crane, Bruce, ‘“‘Ripening Grain,” 16x24, 
; EM EOWRES icc ee cece os cet tee eens 480 

11. Chase, Harry, ‘Boats at Scheveningen,” 
HAs dene Mis (CriSSHIAN a. sce we ee oe 230 

12. Shurtlett, R. M., “‘Pool in the Woods,” 
Polak ota. Wa. meainan, Ast... 66.64% 186 

13. Tryon, D. W., “An Autumn Day,” 14%- 
PU aaelcton wGalleriesS 6... 3.4%. oases 300 

14, Eaton, Warren, ‘‘Monrise,” 12x18, 
PNG IMT Psd sles sepia bss s cb cece ges 6 170 
15. Dewey, C. Melville, “Morning,” 18x-24, 
Poeve w PeRCI CIN) sree eer enee eos 430 

lou Mowtay, wi. Siddons, ‘‘Lais,”. 914x24, 
inky (GE ee ee ee ee ee ae 120 

17. Vedder, Elihu, ‘‘Le’ Mistral,’ 9x6, W. D. 
eM EROE ooo so alae) cup swig S Sees 9 150 

18. Murphy, J. Francis, ‘““Meadow Streams” 
| (Watercolor), 6x8, P. W. Rouss...... 510 

19. Dewing, T. W., “Young Woman” (Pas- 
Speter, 1012x7, ©. Wi. Dunbar 25. ...2.5. 325 
20. Davies, Arthur B., ‘The Searcher,” 6x12, . 
PN REIAE (in os cee ey Canes sins On g's = 150 

'21. Tryon, D. W., “Apple Blossom Time,” ~— 

Ose <1 Os oS Braker i... tsceiels os 0 00 420 


fe Murphy, J. Francis, ‘“‘Across the Fields” 
(Watercolor), 8%x12%, W. D. Braker 535 
23. Tryon, D. W., “Village Street, 1012x16, 
T. W. Dunbar ‘ 


% war tax, and which 


14x24, E, J. Lownes vse: semen 
36. ‘Hassam, Childe, -“*Pont:. Neuf, ’ Paris,’ 
; pt, Oem C lias. shen hate cmpteeh wae a o's 0 
37. Walker, Horatio, “Milk 
Othy<ExvGhOwW levaginn cuenta eters ce'c oes 36 380 
38.. Murphy, J. Francis, ‘“‘Sunlit Stubble,” 
l6x22; Macbeth Galleries ius. aerate 23508 . 
39. Hassam, Childe, “The Italian Bark— 
Gloucester,’’ 24x22, Knoedler & Co... 1,25€ 
40.° Twachtman, J. 30 wakes, Underasthe 
Hilis,?= 15x22. -Ey A Milch <Ginc.) ter « 825 
41, Tryon, D. W., “A New England Pasture’’ 
(Watercolor), 14x24, G. T. Wright.... 225 
42. Davies, Arthur B., ‘‘Forest’s Festival,” 
= 6x2 aeAR” Wo Bait: cc scree uy eee os 300 
43, Hassam, Childe, ““Frenchman’s Bay, Mt. 
Desert,” 26x36, W. H. Wheelock .... 750 
44. Minor, Robert C., “Sunset,” 30x40, P. W. 
| HNOUMSS Hs A cules erase cathe etek sli terreno cleat ta 5 3,000 
45. Blashfield, H., ‘‘Harmonies,’’ 18x15, John 
SOSSC ICM a oe Tele cecal ts. ae Uiverese Seeroaaeels oleae ce 135 
46. Davies, Arthur B., ‘Body of Dew,” 18x- 
Eee Vera aint =. ds ete eeet a neat nym Bids 275 
47. Hassam, Childe, ‘‘The Water Garden,” 
Mpee4x 36-- ies). Woowries pera. cere o 2,400 
48. Murphy, .J. Francis, “A Golden After- 
MOOn,. s 6x22,.O2 “Berwet, Act wee c 1,800 
49. Walker, Horatio, ““A Canadian Pastoral,” 
1Sx26,asGaptes NEC Malte ame eet rete 1,500 
50. Davies, Arthur B., “Reluctant Youth,” 
17x22)" Berdinard’ Howell .ciek . wees eis 725 
51. Hassam, Childe, “‘Old Indian Trail to Sea— 
Connecticut,” 22x24, O. Bernet, Agt. 1,150 
52. Tryon, D. W., ‘“‘White Houses,” 16x24, 
HCP ECS Wire SLOWS cles GCE nea ates woe oes 910 
153. Tryon, D, W., “Harbor Lights,” 14x22, 
Chas. Heewla leottye Meer. o's: sske barcteeeretelcis 500 
54. Daingerfield, Elliott, ““Meadow Mists and 
Moonlight,” 16x24, A;-W. Bahr ¢..... 275 
55. .Hassam, Childe, ‘‘The Butterfly,’”? 27x20, 
Toward: HV Outig a5 6. eso Be aieletme seein 850 
56. Walker, Horatio, “‘A Siesta,” 10%4x18, 
AY) Ge ccset B ieee BS ao oh mee a eee Se RRP Irae rie, 1,075 
57. Davies, Arthur B., “Breath of Autumn,’ 
POSEN 3 AS Wiss dS at meisis tale eeMimenel sta cles 850 
58. Murphy, J. Francis, ‘‘An Old House,”’ 
12x10 ee We) aa Brakers:.s. say cue 1,100 
59, Ryder, A. P., “Dancing Dryads,” 9x7, 
= . _Knoedler & Co, ‘ pert Lica CTA A URE eaeareae 925. 
60. Hassam, Childe, “A 1, New Depot, Cos 
Gob; 534x9, <W. Dt Braker" 6 Site: 675 
61. Blakelock, R. A., “Encampment: Eve- 
/ i; BPX Ae. yn), CLOW hesitwas a oes oe 1,160 
162. Ryder, A. P., “The White Horse,” 8x10, 
. W. Kraushaar Galleries 5.....¢.... 1,400 | 
(63. Murphy, J. Francis, “Upland and Valley,” | 
22x16, Macbeth Galleries ............ 2,700 
64. Walker, Horatio, “A  Styboy Feeding 
Pigs,” 18x24, Howard Young ........ 3,000 
65. Tryon, D, W., “Autumn Twilight,” 16x24, 
O, Derirets PAGE ase Soret us eile 3,500 | 
66. Dewing, T..W., “Green and Gold,” 24x22, 
Rekn 2Gablerigs.\54 come eve tec 3,900 
|67. Davies, Arthur B., ‘““A Greater Morning,” | 
| Die Bee OW cc Baliy tte ty ee vee te 375 | 
68. Hassam, Childe,. ‘‘October’s Gold,” 37x24, 
BD: Jit ASG PEN Fie WPS Sacks eee VS Show's Sc dae g 3,100 | 
59, Chase, Wm. M., “Fish with Still Life,’ | 
Were attyOG tet A BAlig Cot 97. we «desis nelaes 1,175 | 
70. Tryon, D. W., “Near the. Shore: Moon 
rise,’ 30x52, Macbeth Galleries ...... 5,100 | 
71. Walker, Horatio, “‘Ploughing in Acadia,” 
1 AD OOM Ollande Galleértes me nye wast o. 353507 
. LOGAE SF Lice cits. cake. « <c.neiniali PRAMS he, sake $68,895 


cal 


ON FREE PUBLIC VIEW 
a fb: FHE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


3 BEGINNING SATURDAY, FEBRUARY 22np, 1919 


(WASHINGTON’S BIRTHDAY) 
AND CONTINUING UNTIL THE DATE OF SALE 


| ee NOTABLE COLLECTION 


ee 


"AMERICAN PAINTINGS 


a? } 4 BELONGING TO 


2MR, N. E. MONTROSS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY DIRECTION OF THE QWNER 


A ON THE EVENING OF THURSDAY, FEBRUARY 27Tn, 1919 


IN THE GRAND BALLROOM OF 
THE PLAZA 


FIFTH AVENUE, 58TH TO 59TH STREET 


BEGINNING PROMPTLY AT 8.30 O’CLOCK 


ILLUSTRATED CATALOGUE 


OF THE 


NOTABLE COLLECTION 


OF 


AMERICAN PAINTINGS 


FORMED BY THE CONNOISSEUR 


MR. N. E. MONTROSS 


TO BSE SOLD AT UNRESTRICTED PUBLIC SALE 


BY DIRECTION OF THE OWNER 
ON THE EVENING HEREIN STATED 


IN THE GRAND BALLROOM OF THE PLAZA 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF THE 
AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK CITY 
1919 


THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 


2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either de- 


cide the same or put up for re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the pur- 
chase money as may be required, and the names and addresses of 
the purchasers shall be given immediately on the sale of every lot, 
in default of which the lot so purchased shall be immediately put 
up again and re-sold. 

Payment of that part of the purchase money not made at 
the time of sale shall be made within ten days thereafter, in de- 
fault of which the undersigned may either continue to hold the 
lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or 
private sale, and without other than this notice, re-sell the lots 
for the benefit of such purchaser, and the deficiency (if any) aris- 


ing from such re-sale shall be a charge against such purchaser. 


4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 
9 A. M. and 1 P. M., and on other days—except holidays— 
between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and only 
on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 


of any purchase during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The. Association 
will, however, afford to purchasers every facility for employing 
at current and reasonable rates carriers and packers; doing so, 
however, without any assumption of responsibility on its part 
for the acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed | 


within ten days from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Asso- 
ciation of the correctness of the description, genuineness or au- 
thenticity of any lot, and no sale will be set aside on. account of 
any incorrectness, error of cataloguing, or any imperfection not 
noted. Every lot is on public exhibition one or more days prior 
to its sale, after which it is sold “‘as is” and without recourse. 

The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly cata- 
logued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby would 
become responsible for such damage as might result were his 


opinion without proper foundation. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South. 


SALE THURSDAY EVENING 


FEBRUARY 27, 1919 


IN THE GRAND BALLROOM OF 
THE PLAZA HOTEL 


FIFTH AVENUE, FIFTY-EIGHTH TO FIFTY-NINTH STREET 


BEGINNING AT 8.15 O’CLOCK 


GEORGE W. MAYNARD, N.A. 


1843— : 60 
1--4N OFFERING A” Vine 


Height, 834 inches; length, 1014 inches 


A youne Greek girl is seated, one arm extended, before 
a niche in which stands a small bronze figure. A censer 
burns and incense rises. ‘The tones are quietly brown and 
achieved with dignity. ‘The interest centers in the classic 
head, seen in profile. 

Signed at the lower left, MayNnarp. 


WILL H. LOW, N.A. 
18538— 


2—4 LITTLE LOITERER 


ih va We tw aw , Height, 15 mches; length, 18 inches 


Dh gewt 


An early work of the painter who has in later years be- 
come a distinguished decorator. A country road, a great 
stone wall with an overhanging tree in full blossom, give 
the setting. A child has stopped to gather flowers, while 
beyond, on the path, a woman waits. 


Signed at lower left, Witt H. Low, 1882. 


LAA. 
DWIGHT W. TRYOX ING AG 


1849— 


3—IN PICARDIE 


Height, 16 inches; length, 24 inches 


- 'Turere is an old bridge, with the sense of water below it, 
rather than the obvious fact, and bush and grass grow 
luxuriantly. There is a hillside with finely touched in 
_ trees, while overhead a moist sky stoops over this bit of 
France where but lately rude war screamed. It is a sou- 
venir of peaceful days in peaceful lands. 


Signed at the lower left, D. W. Tryon, 1880. 


BRUCE CRANE, N.A. B O d 
1857 ae 
4—LOWLAND GRASSES ey iG 


Height, 16 inches; length, 24 inches 


A canvas of quiet tone, with trees at right side and one 
or two as balances to the composition. It is painted after 
the full tide of summer when the grass begins to redden. 
Here they grow lush and rich and are evidently near the 
water. The sky is quiet and of sustained tone. 


Signed at the lower right, Bruck Crane. 


W. L. LATHROP, N.A. 
1859— 


5—SUMMER AFTERNOON 


Height, 12 inches; length, 14 inches 


RoLuine country with dimly seen houses is the shght fab- 
ric upon which this little composition is built, but the sky, 
the atmosphere and. sense of space compensate. ‘These 
little things are rendered very artistically, though with 
great reticence. 


Signed at the lower right, W. L. Laturop. 


WORTHINGTON WHITTREDGE, N.A. 
1820-—1910 


6—BROOK IN THE WOODS 


Height, 14 inches; width, 12 inches 


A LOVER always of the quiet places in nature, where trees 
and water lull the senses, this little work is fully typical. 
It is sincere and has a certain golden brown tone which is 
always attractive. 


: Signed at the lower left, W. WuHitrtrREenGe. 


F. K. M. REHN, N.A. eae: a 
1848—1914 : 


7—INCOMING WAVE WH Ugcclo fo 


Height, 16 inches; length, 24 inches 


Tue finely drawn wave is just breaking, and the far sea 
stretches into that infinity of space which is the ever pres- 
ent mystery of the sea, and the artist has caught this sense 
of space with artistic subtlety. The color is deep, with 
the wet sands of the foreground reflecting the rosy glow 

of the sky. = 
Signed at the lower right, F. K. M. Rreun. 


DWIGHT W. TRYON, N.A. 


1849— ISP Bean's 
| ey. 
8—OPEN SEA / /< | 
——- | 
Height, 11 inches; length, 22 inches - PA ie : 


- Movement and color are the motives which interest in this 
canvas. The sky is kept very quiet, which permits proper 
attention upon the wide reach of sea. In the curve of a 
wave the artist has hidden emeralds, lapis lazuli and the 
iridescence of opals. He has contrived, also, to give the 

sense of great space, which is so important a quality of 
pictures of the sea. 


Signed at the lower left, D. W. Tryon, 1898. 


H. BOLTON JONES, N.A. 
1848— 


9—-STILL WATER 
Height, 16 mches; length, 24 mches 


A. QUIET stream fills the left of the canvas, with bare trees 
along the bank and against the sky. ‘The ground is cov- 
ered with fallen leaves, and there is a fine distance. ‘There 
is always sterling drawing in the work of this artist, and 
this canvas shows him at his best. ‘The time is at the 
verge of winter, and the air is still. Nature seems waiting 
for the wintry shroud of snow and ice. 


Signed at the lower right, H. Botron Jones. 


BRUCE CRANE, N.A. 


1857 AEO 


10—RIPENING GRAIN ee 
4. } pained 


Height, 16 inches; length, 24 inches 


THERE is an inspiring freshness in the rich, green fore- 
ground which is intensified by the golden color of the ripe 
grain in the middle distance. Against the sky a few houses 
are seen. ‘The picture is a vivid impression of quiet 
American life in the country districts. 


Signed at the lower left, Bruce Crane. 


a 


HARRY CHASE, A.N.A.. 
—188§9 


AB 0 11—BOATS AT SCHEV ENINGEN 


Height, 14 inches; length, 24 inches 
, ONAN AV : a 
Tux work of a painter who held great knowledge of the 
sea and of fisher folk. The dull red sail, the boats, the few 
figures in movement along the wet sands, are all well done; 
and overhead is a fine sky, with the promise of rain in its 
tones. | 


Signed at the lower left, Harry Cuase. 


OO gi ite cates ai 


R. M. SHURTLEFF, N.A. EG 0 
1838—1915 a 
12—POOL IN THE WOODS If. Ye wn an, 
| Height, 181% inches; width, 151% inches A of 


Tus artist has been called the poet of the woods, and he 
here shows his love of the deep woodlands. ‘The shadowed 
_ pool with a great birch tree overhanging it, the far away 
openings to the sky are all significant of the scenes the 
painter loved. ‘The picture is painted in a direct way as 
if done in the presence of the exact scene, and so becomes a 


valuable record. 
Signed at the lower left, R. M. SHuRTLEFF. 


DWIGHT W. TRYON, N,4. , rv 
1849— taX | 


: : DAC 
13—AN AUTUMN DAY 309 


Height, 1444 inches; length, 2014 mches Kab obrs teller 7] 


Tue distinction of this picture lies in its tone. Against a 
broken sky there is shown a brown tree. The motive is 
slight, but there is great beauty in the choice of tone, a rich 
brown and gold. In just such choosings an artist proves 
his worth and charms us by his taste. 


Signed at the lower left, D. W. Tryon, 1886. 


CHARLES WARREN EATON 


1Ss5 (== 


14—MOONRISE 


\s 


Height, 12 inches; length, 18 inches 


Qe 
S: 
S. 


We look from the woodland border through an opening 
in the trees where the early moon rises in modest glory, 
calm and beautiful. The time of day, the gentle purity 
of color, the drawing of the trees, all make up an ensemble 
of beauty. The picture is a poem of the twilight. 


Signed at the lower right, CHas. Warren Eaton, 1887. 


CHARLES MELVILLE DEWEY, N.A. 
Ls 1849— 


Height, 18 inches; length, 24 inches 


AA BROKEN cluster of trees breaks the skyline on the right. 
The fields reach up to the skyline with little interruption, 
save a note of reflected color in the foreground, but the 
picture’s life is in the roseate glow of the sky, with the orb 
of the sun lifted well above the horizon. It is still pink 
in the silvery exhalations of the earth, and flecks the broken 
mists of the sky with its own color. The handling is a rich 


impasto. 


Signed at the lowe right, CHarLes MELVILLE Dewey. 


15—MORNING  — 3 
1430 


H. SIDDONS MOWBRAY, N.A. 
1858— 
16—LAIS 


Height, 91% inches; width, 54% inches 


A youNG woman clad in delicate green leans against a 
great urn, beside which grows a blossoming tree. Her 
brown hair falls long and loose below her waist, and her 
classic dress is caught up with roses. Extreme refinement 
is the characteristic; charm also is in this rare little panel 
from an artist whose work is seldom seen. 


Signed at the lower left, H. Sinpons Mowsray. 


Ne See 


NN Ss SS 


did 


ate ee 


ELIHU VEDDER, N.A. 
1836— 


17—LE MISTRAL / 
Height, 9 mches; width, 6 inches Vib 1. Mh £ 


Two figures are shown in this little panel—a young 
woman in romantic costume, and a court jester. Beyond 
the wall trees show against the sunset sky. ‘The panel is 
rich in quality and color, and the flying ribbons are blown 
gustily about in the northwest wind which gives the title. 


Signed at the lower left, V- Roma- 1867. 


J. FRANCIS MURPHY, N.A. 


QO 3  -1858— : ES 


18—MEADOW STREAMS AY 


(Water Color) . 
fr Ue Ine Height, 6 mches; length, 8 inches 


Tue gleam of many pools and streams lying far out across 

the meadows—a cool gray sky against which thin trees are 

outlined—but the certainty of the drawing, the delicacy 

of touch and the clearly washed tones indicate the know]l- 
: edge which has made this artist a master. 


Segned at the lower right, J. F. Murpnuy. 


£ 


vie 


it T. W. DEWING, N.A. ) ew 


T° 1851— Lhe : soe 


19—YOUNG WOMAN 3209 


(Pastel) ~ 
Uh oa: 1. Wauher/ 


Height, 101% inches; width, 7 inches 


Tuts drawing done in tinted chalks is delicate almost to 
the point of fragility, yet there is a certainty of touch, an 
excellence of drawing that proclaims the accomplished 
master. Refinement is in every line. The face, seen in. 
three-quarters, is serene and sensitive. 


Signed at the lower right, T. W. Dewine. 


)50 
ht Mebv 


ARTHUR B. DAVIES 
1862— 


20—THE SHARCHER 
Height, 6 inches; length, 12 imches 


Here the mystic enters in. The quiet landscape with its 
broken color, its touch of red autumn, the dark cedars and 
far blue hills, is normal and quite what we know; but the 
blue-hooded figure, with hand to listening ear, slipping 
swiftly across the foreground, is mystic, is like the vagrant 
wind, is the searcher who hears afar the secret song which 
murmurs. She kindles the fancy, while her hooded head 
is mask and silence, teasing us to know the object of her 
search. 7 
Signed at the lower right, A. B. Davies. 


DWIGHT W. TRYON, N.A. 
1849— 


4.20 
09. Grete 


21—APPLE BLOSSOM TIME 
Height, 101% inches; length, 16 inches 


Tuis picture is a study of the air and full of the spring 
time. An old gate is revealed against the sky, with blos- 
soming trees near by. ‘Turf and broken ground complete 
the foreground. ‘The sky is soft blue beneath the haze. 
The picture is redolent of the fragrance of early flowers. 
The smell of new earth, and new life in grass and trees is 
everywhere. 

Signed at the lower left, D. W. Tryon, 1882. 


_ 
- 4 5 . : J. FRANCIS MURPHY, N.A. 
S 1853— 


€ 


22— ACROSS THE FIELDS ; 


UA i breoller’ (Water Color) ° 


Height, 84% inches; length, 124% inches 3 


Va 


wy 


Tuis picture is drawn with the care and precision of all 
the artist’s work—the earth finely modeled. There is a 
bit of water, an old fence, with farm buildings against 
| the sky. Weed forms are drawn with care and knowledge, 
and the handling is clear. It is a record, done by a master. 


Signed at the lower left, J. Francis Murpnuy, ’83. 


: 


DWIGHT W. TRYON, N.A. 


1849— 
23-VILLAGE STREET Etsy ped @, 
Height, 101% inches; length, 16 inches brs V 


UNnpER a quiet sky the village street stretches from the 
foreground into the distance where houses cluster against 
the sky. The foreground is shadowed, and a half-golden 
light envelops the scene. A small figure gives the note 
of life, and a small tree, dark against the sky, gives the 
accent needed. The paint has been used with subtle deli- 
cacy and preciousness. A panel of rare quality. 


Signed at the lower right, D. W. Tryon. 


ELLIOTT DAINGERFIELD, N.A. 
1859— 


Ch 
ey 


24—MOON RISING OVER FOG CLOUDS 


(09 (Water. Color) 
yt, bedrv 


An effect in nature rarely seen, but occurs sometimes in 
the mountain country. Banks of cloud or fog rest in the 
great ravines and when the moonlight falls upon them 
they are magnificent. The light is almost phosphorescent 
in its luminosity. This little work is a direct impression 
of a personal experience. 


Height, 8 inches; length, 10 inches 


Signed at the lower left, Ex.tiorr DatncEeRrFieLp. 


“ARTHUR B. DAVIES | 
1862— : ; 


25—LANDSCAPE 3 oe 
Height, 11 inches; length, 13 inches 


A HULISIDE with strangely formed trees against a sky of 
lovely, creamy light. In the lower left a horse drinks from 
the edge of a pond, but the golden middle distance is the 
charm of the canvas. Its quality, the broken tones of color 
producing the sense of golden light, prove the mastery of 
the painter. 

Signed at the lower center, A. B. D. 


a 


a” 


67 own 


26—SUNSET 


~ t -_ 
Y 22 : 


A. H. WYANT, N.A. 
1836—1892 
ol 


Height, 12 inches; width, 824 inches 


A LONELY tree stands dark against the sky; the hour is 
sunset and the sky reddens as the light breaks through 
clouds. A small pool of water catches reflection, and near 
the tree a figure is dimly seen. A rich brown tone pervades 
this little canvas, and the mastery of this great artist is 
felt everywhere. 

Signed at the lower right, A. H. Wyant. 


T. W. DEWING, N.A. 


1851— / 50 


27—_THE WAITING ATHLETE 


Ve Sulleni 
Height, 1034 inches; width, 614 inches peated 

Tus is entirely a classic study. There is a finely drawn 

figure of a young man in the immediate foreground, with 

another figure in the half distance. The note of blue in 


the sky is fine. The sincerity of the work repays study. 


Signed at the lower left, T. W. Drewtne. 


io ALBERT PINKHAM RYDER, N.A. 


lb a) 45 1847—1917 


283—LANDSCAPE, WITH OLD MILL, 
IN MOONLIGHT 


Height, 8 mches; length, 12 inches 


RatTuHER far away we see an old mill with worn old sails — 
outlined against rifts, and fields of fog which lie very still 
and somnolent in the moonlit landscape. A converging 
wall catches the light along its top, leading the eye to the 
/ mill; but it is the sky, with its strange clouds and mysteri- 
/ ous deeps of light about the moon, which entrance. The 
VV great fog cloud which stoops over the earth is but a compo- 
sitional incident, but the mind becomes fascinated as one 
studies the sky. 


‘VN ‘UACAY WVHMNId LUAdTV 
Aa 


LHYITNOOW NI “TTIW GTO HLIM ‘dAdPOSANFT 


_- RALPH ALBERT BLAKELOCK, N.A. 
b 1847— 


4 
pL | 8—MOONRISE 

a 0 (Panel) 

YY, oe [bre afte Height, 6 inches; length, 8 inches 


A GEM with deepest glory of color cannot outrival the 
glowing beauty of this little panel. By an alchemy all 
his own the artist could, at times, cause mere pigment to 
take on the glory of jewels, of the richest enamels, and 
this picture is one of his successes. The color of the sky, 
the values in the water and all the contrasts are so just 
that the entire work takes on the completeness and the 
poetry of a masterpiece. 


Signed at the lower right, R. A. BLaAKELock. 


WINSLOW HOMER, N.A. 
1836-—-1910 


30—WAITING 
(Water Color) Lf > 


Height, 8 wmches; length, 12 inches 


A FEMALE figure is seated in the left foreground, chin in 
hand, and hat beside her. The pose is pensive and almost 
dreamy. Beyond, where light breaks through the trees, 
a small figure is seen. The entire work is brushed in with 
the usual vigor of this great master. The picture is unique 
and intimate. 


Signed at the lower right, W1xstow Homer, 1880. 


ARTHUR B. DAVIES 
1862— 


tO) 
9°. _31—THE CALL OF SPRING 


| gy, Cow ae | | 
( Tuer elements in this picture are simple. ‘Two silver 
birches lift their delicate plumes into the sky, which is of 
gray and blue. The still water of a pond or lake is seen 
beyond the hillside, but the attention is held by the slight 
nude figure of a child in the foreground. The whole panel 
is pervaded with the dreamy languor of awakening Spring. 
One does not see birds, but one may hear their song and 
those infinite sounds which are canticles of joy. Observe 
the intertwining of the lovely young birches, symbolizing 
that union out of which ever comes a new birth—the trees 
bear their leaf and blossom, the brown earth awakens, 
young life appears, and all is youth, freshness and beauty. 
Not anything of this is immediately apparent in this panel, 
but all is there to the willing brain and seeing eye. 


Height, 20 inches; width, 8 inches 


Signed at the lower center, A. B. Davtss. 
| 


THE CALL OF SPRING 


Y 


ARTHUR B 


B 


DAVIES 


ALBERT PINKHAM RYDER, N.A. 
1847—1917 


| 82—“CHILDE HAROLDS PILGRIMAGE’ 
Height, 844 inches; length, 1014 inches 


AN upright panel of exquisite quality. The eye is held 
by the figures of white horse and gay rider, who cross a 
stream at the foot of a castle of an architecture quite per- 
sonal. This dark tower is partly hidden by lovely trees 
which wave against a sky of depth and great delicacy. 
Corot never reached more subtlety. The picture is like a 
verse out of Spenser and breathes romance in every tone. 


ROLD’S PILGRIMAGE” 


A 


“CHILDE H. 


BY 


ke 


N 


3 


AM RYDER 


VK 


ERT PI} 


ALB 


GEORGE DE FOREST BRUSH, N.A. — 


() QO 1855— 
oo 
Height, 12 inches; width, 11 inches 


‘\~ A young girl with red hair is here shown. She wears a 
bluish gown with a bit of exquisite lace showing. There 
is always a perfection of treatment in this artist’s work, 
and he has given here a fine example of the trained 
draughtsman. The head is winsomely attractive. 


Signed at the upper right, Gzo. Dz F. Brusu, 1885. 


HEAD 


BY 
GEORGE DE FOREST BRUSH 


A 


N. 


b) 


DWIGHT W. TRYON, N.A. 
' 1849—— 


 B4—-GLASTONBURY MEADOWS 
(Water Color) 


Height, 131% inches; length, 214% mches 


EXQUISITE gray greens, with flowers in the foreground, 


against a moist sky. It is a theme Daubigny would have 
loved and painted with equal artistic insight. | 


Signed at the lower right, D. W. Tryon. 


make this picture very attractive. There are rolling hills 


DWIGHT W. TRYON, N.A. 
1849— 


ks AO 
35—BUZZARDS BAY SHORE ey 
444 
Height, 14 inches; length, 24 inches ff bryant | 


A FINE study of the formations which occur near the shore 
of the sea. A few rocks, an old fence, and sand are suf- 
ficient to call out all the artist’s sensitiveness to delicacy 
of values. Overhead is a sky of true beauty and great 
subtlety of form. — 


Signed at the lower left, D. W. Tryon, 1886. 


CHILDE HASSAM, N.A. 
1859— 


/ ee 
36—PONT NEUF, PARIS ee ye 


(Water Color) tie 4 4 ff 


f) 
I 


Height, 1114 inches; width, 9 inches 


A CHARMING drawing. The bridge enters the picture 
plane on the left. Great buildings with mansard roofs 
fill the right. The foreground has a few figures, and there 
is a note of quite wonderful green in the background. 
Even in this small drawing there is the feeling of the life 
of the great city. 

Signed at the right, Curtpr Hassam, 1911. 


HORATIO WALKER, N.A. 
1858— 


2 /) () 37—_MILKING 
J > a (Water Color) 


; | tty a Corie Height, 8 inches; length, 101% inches 


A WHITE cow, a blue-shirted man, gray-green fields under 
a quiet sky, that is all; and yet the work is a poem. The 
patience of the cow, the sense of intentness in the man 
who does the milking, are so perfectly felt that 1t becomes 
real with that realism which is the essence of a theme. Its 
poetry is in its truth. Each value, each tone is in its place, 
and there is no discord. A work of unusual beauty. 


Signed at the lower right, Horatio WALKER. 


——  — — 


———— > i Tel 


J. FRANCIS MURPHY, N.A. 


1853-— 2 ae Z0 


38—SUNLIT STUBBLE 
Height, 16 mches; length, 22 inches Win feb J r,s 


A SYNTHETIC treatment of a theme familiar to all those 
who love the country. In composition it is simple—just 
a few trees on the left, a rolling country, with hillside, the 
white gable of a house in the middle distance, and a few 
corn shucks. ‘That is all, but the artist has found material 
for his fine technique in the stubble and sunburnt grass 
in the foreground, the warm mass of the trees, and the 
sky of pale blue seen almost through the haze. As the 
years go, we see in this painter the mastery of tone, the 
value of atmosphere, and the uselessness of exaggerated 
detail. He contents himself with the spirit of the theme 
and does his work as a master should. 


Signed at the lower right, J. Francis Murrny, 1918. 


ae CHILDE HASSAM, N.A. 
1859— 


39—THE ITALIAN BARK—GLOUCESTER 
Height, 24 inches; width, 22 inches 


A GREAT bark in full sunlight lies anchored at the pier, 
her sails weary and drooping as if after a long voyage, 
yet happily finished, since the sunlight kisses sails and hull. 
She has finished unloading, for the ballast line, a most 
lovely line of bright green, shows along the full length 
of her. There are, along shore, notes of brown and red, 
and the tall lines of masts are strengthened by other up- 
rights of steeples and chimneys in the background. The 
sky in a broad daylight blue, and the water flecked and 
broken with rippling colors. An essentially happy pic- 
ture. In technique it has all the excellence of the master. 


Signed at the lower right, Cu1tpr Hassam, 1896. 


) 
Al . 


\ 
\ 
./ 


’ 


ee a a laa 
isos is eLee ola  cy 7Tck e e ie sl il La 


ALIAN BARK—GLOUCESTER 


THE IT 


BY 
E HASSAM, 


A 


N 


CHILD 


JOHN H. TWACHTMAN 
1853—1902 Soke 


40—LAKE UNDER THE HILLS 
Height, 15 inches; length, 22 inches 


A LAKE so subtly painted and with reflections so delicate 
and elusive that it might be well called a lake of dreams. 
Many things are mirrored there. The eye flits across the 
surface and seeks the distant shore, faintly seen, and on to 
the low hill which is beautifully felt rather than drawn. 
The few trees are gracious, and the flowers in the near 
right foreground give the foil of strength to help us feel 
the subtlety of these tones of gray. It is at once a painter’s 
picture and a dreamer’s poem. 

Signed at the lower left. 


2 
7 


ee ee ee ee ae ee er 


Ap 


4 
é 
x 
ra 
=. 
_ 


DWIGHT W. TRYON, N.A. 


; 1849— 
41—A NEW ENGLAND PASTURE — 
(Water Color) Se ya Nw 


~w 
Height, 14 inches; length, 24 inches y qe V, bY 


Ami the ripe brown grasses, rocks break through, gray 
and shadowy; against the sky, which is of a fine silvery 
tone, barns and outbuildings show. In the foreground 
greens are mingled with the brown, resulting in magical 
russets. The flow of the washed-in color proclaims the 
artist’s mastery of this medium as well as oils. 


\ 


Signed at the lower left, D. W. 'Trron. 


ARTHUR B. DAVIES 
1862— 


42—FOREST’S FESTIVAL 
Height, 16 inches; length, 21 inches 


WE are in a beautiful Arcadian grove; the trees are noble 
and droop gracefully; the light of the sky shows in a few 
glowing tones. Groups of figures disport themselves. In 
the center there is a rider on a black horse, and nymphs 
and deer are playing throughout. A joyous brush has 
touched with golden colors, or set with shining jewels, 
sunny spots on sward and flesh and drapery. Movement, 
life and Arcadian joy are everywhere. Haunting melo- 
dies fill the air and we look to see Bacchus and all his 
train spring from out the shade or goatlike Pan stay for 
an instant to wind his horn. The charm of the woods, and 
the amorous quest of radiant sunshine touched by an 
artist’s hand, are treasures we gather in looking at this 
little work. 

Signed at the lower left, A. B. Davies. 


FOREST’S FESTIVAL 


BY 
ARTHUR B. DAVIES 


CHILDE HASSAM, N.A. 
1859— 


F, 50 483—FRENCHMAN’S BAY, MT. DESERT | 
ih %, pele fC Height, 26 inches; length, 36 mches 7 | 


A BROAD sweep of calm water with islands here and there. 

A range of hills in the distance under rolling masses of _ 
silvery cloud. The canvas is pervaded with light pushed | 
to the ultimate of the palette. It is a picture of the open 
day, shimmering and happy. The great daa are but 
sails adrift in an ocean of light. 


Signed at the lower right, CHitpE Hassam, 1896. 


"VIN ‘NWVSSVH AC TIHO 
AL 


LDYASAd ‘LW ‘AVE SNVWHONGAYA 


po tee 


()0 9 ROBERT C. MINOR, N.A. 
%, 1840—1904 


44 SUNSET 
Height, 30 inches; length, 40 inches 


Tus fine composition reveals this artist at his best and 
in this work he has left the full measure of his knowledge. 
The tree masses are noble and break across the sky in fine 
line and mass. The sky is rich with a sunset glow and lifts 
up into a deep blue, which is unusual. It has been man- 
aged with understanding and power. A pool, surrounded 
by rocks and lush growth, catches the reflection of the sky. 
AA splendid, deep-red bush supplies a note of supreme color 
in the foreground. The artist has allowed the full measure 
of his palette in his coloring and the result is an ensemble 
of luxurious painting. 


Signed at the lower right, R. C. Mtnor. 


‘VN “MONIW ‘OO LUAAOU 
AM 


LASN DS 


EDWIN H. BLASHFIELD, N.A. 
1848— 


> a 
25 
45—-H ARMONIES 


fom th Height, 18 inches; width, 15 inches 


An early but fine composition by a man who has become 
famous as a decorator. This work gives rich evidence of 
the artist’s trend of thought. A noble female figure, 
seated before a music stand, with a great lute in hand, 
pauses for a moment to listen to a child of high degree. 
The heads are finely placed and balanced. There is a 
wonderful blue in the background, enriched by the silver- 
gray of the pilasters. Here and there notes of blue and 
red vivify the color, which is refined and decorative. 


| Signed at lower left, E. H. Buasuriexp. 


HARMONIES 
BY 
EDWIN H. BLASHFIELD, N.A. 


ARTHUR B. DAVIES 
~ 1862— 


46—BODY OF DEW 


2 


Height, 18 inches; length, 30 inches 


Tuer great, blond hillside, with a few trees against the 
lovely morning sky, is but the base whereon rest the nude 
figure of a woman, the hungrily clustering children drink- 
ing at the mother-fount. How it pictures for us the earth 
and flowers—the source, the supply and the blossom—the 
life-giving dew to the brown hillside, the stooping, need- 
ing flowers typified. ‘The slenderness of the young birch, 
the formal strength of the cedars, all have a part in this 
composition, which is veritably the dew of life. 


Signed at the lower left, A. B. Davies. 


See 


Pg BMS, 
a: eR 


CHILDE HASSAM, N.A. 


| “a | —:1859—- 
a Ze 


47—THH WATER GARDEN 


4}. Lolaees 


ALONG a sunlit path we are led into this field of flowers 
agleam with sunlight. We are between two streams of 
water; white iris and other flowers grow profusely and 
happily; water lilies float and lend the richer tones of their 
leaves to the color scheme. ‘The rich background of trees. 
the fine gradation of light, the notes of purple and brown, 
all distinguish this canvas. 


Height, 24 inches; length, 36 inches 


Signed at the upper left, Cu1tpE Hassam, 1909. 


J. FRANCIS MURPHY, N.A. 
/, : 1853— 
GO Os 


/48—4 GOLDEN AFTERNOON 3 


Oho home : 


: Height, 16 inches; length, 22 inches 
dod. 


In the center of the canvas we see a group of trees, one 
or two bare, and one in the full livery of autumn. The sky 
is a pale blue, with filmy atmosphere; a few corn shucks 
and notes of yellow to mark the presence of pumpkins. 
The golden tone of the twilight of the year is over every- 
thing, and the pale sunlight falls like a blessing, gentle and j 
caressing. In technical treatment this is quite in the art- 

ist’s latest manner. 


Signed at the lower right, J. Francis Murpuy, 1919. 


\ 
HORATIO WALKER, An Au yrtlt— 


rs58— (A JS 0 


49—A CANADIAN PASTORAL fe ae 
Height, 18 inches; length, 26 inches Sapp. he Py 


A croup of trees rising against a fine sky, with others at 
the right of canvas, give the sky line of this canvas its 
dignity. In the center foreground a white cow is sleepily 
resting; behind her a black one is partly seen. The curved 
line of a ditch leads into the picture. ‘The artist’s sense 
of tone is finely given in this work. It is silvery in its 
lights and shadows and, while clear, is very reticent. 
Nothing is permitted to disturb the sense of calm and 
quiet peace which pervades the scene. He has understood, 
as only great artists understand, the value of simplicity 
with the result that the very breath of the countryside 
comes to us as we view this work. 


Signed at the lower left, Horatio Waker, 1888. 


: ARTHUR B. DAVIES 
BE 1862— 7 


4 | | 
Zz 50-—-RELUCTANT YOUTH 


| Fosinned toy Byes Height, 17 inches; length, 22 inches 


THE unique assemblage of form aul color in this picture 
make it delightful. The timid young woman in the fore- 
ground, outlined against the old-fashioned red brick house, 
the trees, the group of horse and buggy on the one side, 
and a lovely flower garden on the other, make up a set of 
compositional notes of unique value. The whole picture 
is at once winsome, and has the very breath of summer in 
it. The timid, outstretched hands of the girl, who seems 
to pause at the threshold of womanhood and experience, 
is wonderfully well done. Her wide eyes betray her doubt. 
All about her is home, the peace and quiet of the country, 
yet something more has entered mind and heart, and here 
: we see her, SHI with reluctant feet.” 


Signed at the lower right, A. B. Davries. 


SHUIAVG ‘d YOHLUV 
Ad 


HLIAOA INF LOATAYL 


PRAT DS fe oy 


CHILDE HASSAM, N.A. 


: Fe & 1859— 
\ 51—OLD INDIAN TRAIL TO SEA, 
CONNECTICUT 
| KO Height, 22 inches; length, 24 inches 


TuroucH a rocky dell, an old path leads up the ridge. 
i eS The ground is covered by fallen leaves, a bit of blue sky 
i Ube heen We shows, but the attention is chiefly held by the tall, straight 
| trees which are grouped like the clustered columns of a 
& a d cathedral. There is leafage at the top just where the 
capitals might come, and the golden leaves are like the 
leafage, all picked out in gold, one sees in certain old col- 
umns. ‘here are notes of green, and while we do not see 

the ocean, we may guess its presence beyond the hill. 


( ; Signed at the lower right, Cu1tpE Hassam, 1906. 
- 


DWIGHT W. TRYON, N.A. 
1849— 


52—W HITE HOUSES 
Y O Height, 16 inches; length, 24 inches 


Ly Oh Stupy” A BEAUTIFUL work, with all the tones culminating in the 
accent of the lovely white on the houses. There is an old 
road with two figures suggested. ‘The painting alone of 
this picture, with its fine silvery tone, would distinguish 
it. It is freely but very judiciously painted, and the ac- 
cents are established with fine conviction. 


Signed at the lower right, D. W. Tryon, 1884. 


DWIGHT W. TRYON, N.A. 


BE 1849— 


583—HARBOR LIGHTS 


Height, 14 inches; length, 22 inches 


AT all times a master of moonlight, in this work the artist 
has concentrated upon the crescent moon swinging low 
over the shoreline where twinkle the lights of town. The 
gently moving water reflects the great moon, nearly in 
the center of the canvas—a familiar scene treated with the 
dreamy quality of the true poet. The sky shows a smoky 
quality above the town, but is luminous in color. 


Signed at the lower right, D. W. Tryon. 


ELLIOTT DAINGERFIELD, N.A. 
1859— 


54 MEADOW MISTS AND MOONLIGHT 


Height, 16 inches; length, 24 inches 


Two haystacks rise dark against a moonlit sky. In the 
distance amid trees, the warm light of a window is seen. 
The great, full moon rises above the breathing meadows. 
The quality of the greens, with the misty veils half hiding 
the forms, the light in the sky; these are the Bee to study 
in this canvas. 


Signed at. the lower left, Exxziorr DatNcERFIELD. 


N ‘(THIAUMONIVO LLOIIITA 
Ad 


LHOITNOOW GNF SLSIN MOGVFAN 


C 


CHILDE HASSAM, N.A. 
1859— 


55—THE BUTTERFLY 


Height, 27 inches; width, 20 inches. 


Tue artist shows us the nude figure of a young woman 
seated upon a grassy bank, toying with a butterfly. The 
figure is slender and girlish. The background of trees, 
the grasses and leaves are painted with a dancing light- 
someness of touch which is almost butterfly-like in the 
action; touch here, rest there, dancing and frolicsome, 
the whole work is as light as the flight of a butterfly, and 
there is no part of the figure upon which the soft light 
has not rested in caressing tones. Blues, greens and gold 
have mingled with such accord that the result is sunny and 
bright. 

Signed at the lower right, Cu1tpE Hassam, 1912. 


THE BUTTERFLY 


BY 


CHILDE HASSA 


aA 


M, N 


| 4 - _HORATIO WALKER, N.A. 
| 4g ] 1858— | 
56—A SIESTA 


Wy, f * [bpeoher/ Height, 101% imches; length, 18 inches — 


To one who knows from life, an involuntary smile comes 
as he looks at the lazy, sleepy contentment of these ani- 


beyond to a lovely bit of landscape with houses against 
the sky. ‘There are Rembrandt depths in the brown tones 
of this canvas and the gleam of jewels in the lights. It 
is vibrant and full of quality, by which one does not mean — 
varnish, or enamel, or polish, but something more subtle, 


mals. The foreground is all in quiet browns, and we look | M : ; 


perhaps it is the perfect use of the color, so thateach atom q 


glows in its full power. The Dutchman knew such use a 


of pigment and it is here in this work of an American. 


Signed at the lower left, Horatio Waker, 1884. 


‘VN ‘UAMIVM OLLVUOH 


AL 


VISHIS ¥ 


ARTHUR B. DAVIES 


960 me 


57—BREATH OF AUTUMN 


Height, 12 inches; length, 18 inches 
ep” eo 
THREE great trees, brave in their autumnal garb; glimpses 
of sky beyond. In the right foreground a woman in dark, 
black-blue gown, with a child beside her. Their interest 
centers in a boy on a white pony who rides joyously by. _ 
/ These are the happy days of youth; the trees are the con- — 

: | trast. There’s a tang in the air and a response in the faces. 
VY Their beauty is the beauty of miniatures, exquisite in finish. 
Contrasts of green and golden brown complete a-splendid 

color scheme. Happy youth, golden days! and yet ine note 
of sadness is in the mother’ s dr Fee | 


Signed at lower center, A. B. Davies. 


AUTUMN 


ATH OF 


BRE. 


Y 


B 
ARTHUR B 


DAVIES 


4) 6: J. FRANCIS MURPHY, N.A. 
| -1853— | 


7. WBrekev,. an OLD HOUSE 


Height, 12 inches; width, 12 mches 


Srtpom has this artist achieved a finer bit of tonality. Itis = 
of a golden gray that reaches even into the sky, which, how- 
ever, preserves its delicacy of blues and silver, and there § 
is the mystery. The old house is all but lost in the tree __ 

rw? " masses at the right, but the light on one side emphasizes it _ 

ee, sufficiently. The technique is rugged, yet controlled. We — 

Be are seldom permitted to see a finer bit of masterly handling, 

_~ and the beauty of the simple scene is not lost or harassed 

_’ by uncertainties. 7 | 


w 


V Signed at the lower right, J. Francis Murpny, 1913. 


AN OLD HOUSE 
BY 
J. FRANCIS MURPHY, N.A. 


ALBERT PINKHAM RYDER, N.A. 
Os | - 1847—1917 


g 42 59DANCING DRY ADS 


ee) : Height, 9 Ges width, 7 inches 


\s Yo “In the morning, ashen hued, 


THE artist has added a sranlet to the tithe. 


Came nymphs dancing from the wood.” 


We may go deeper and see more: there is the semi-recum- 
bent figure of a young woman beside a faint pool; on the 
farther shore three nymphs, or better dryads, with flying — 
hair, dance in ecstasy, circling, changing, undulating, as 
we peer through the dim morning light, thin and gossamer 
as the dawn. We see them for but a moment, and lo! 
the morning comes and we have lost them. It is autumnal, 
for the bare trees have shed their leaves and the hillside 
is leaf brown, but we shall remember the abandon, the tone 
and the mystic beauty of this little work. 


Signed at the lower right, A. P. Ryprr. & 


DRYADS 


G 


+ 


NCIN 


DA 


Y 


HAM RYDER 


B 


’ 


T PINK 


ALBER 


CHILDE HASSAM, N.A. 


ae 
ip 9d 5 1859— 


60—A 1. NEWS DEPOT, COS COB 


9 
Up T Breaky 


(" Height, 51% inches; length, 9 inches 


. Ow a tiny space a true artist may sometimes say very 
lovely things in art. We are looking at the front of a 
commonplace building in this picture, but we are seeing 
it through an artist’s eyes. There is a delightful little 
figure of a girl in the doorway, dressed in white, and here 
the sensitive brush begins and leads the eye through tones 
of broken gray which might well make Whistler despair— 
old signs, old boxes, old news stands, rickety and dilapi- 
dated, yet translated into miracles—and were ever old 
green window blinds seen so beautifully? What delicacy 
of drawing, what charm of color, and how artfully the 
painter has filled the eye with the accent of red so that 
one may rightly see the grays and greens. A gem, indeed! 


Signed on the back, C. H. 1912. 


RALPH ALBERT BLAKELOCK, N.A. 


¥ ~ 


1847— 
; Eo 6) 
61—ENCAMPMENT: EVENING 
Height, 8 inches; length, 12 inches 


A uirtLe canvas of pure luxury, rich in all its tones and 
glowing with an inner light. A few tents on the right, a 
few trees, with mirror-like pools of water—that is all in 
the way of subject; but with this artist the lure is of color, 
of sentiment, and he has given us here tones of gold and 
rose, of brown and gray that are little short of magical. 


Signed at lower right, R. A. BLAKELOocK. 


ALBERT PINKHAM RYDER, N.A. 
Roe: Wiemann as Bley e 


UY O 62—THE WHITE HORSE 


Height, 8 inches; length, 10 mches 


_-~ A wut horse is almost the symbol of this artist. He has” 

: x introduced it in various ways, clustering around this note 
{ colors and tones which would lose much of their value but 
for the contrast given by it. .It has been for him the note _ 
of chivalry and of romance. Fair ladies, strong knights 
and great warriors have ridden into his scenes on white 
flanked steeds until we involuntarily look for this note of ~ 
the white horse in the artist’s work; and here, in this pic- 
a ‘VY ture, we penetrate more deeply into his love, and within a 1 
% sort of underground stable we see the white horse at home. ; 

~ No romance, no mystic knight is here—only a white horse | 
—but Ryder’s, and so lovely in the sensitive tones and 
subtle gradations of his favorite. The brown stalls, the 
hay covered floor, are but background to the beauty of the 
white. 


THE WHITE HORSE 
BY 


KHAM RYDER, N.A. 


ALBERT PI 


J. FRANCIS MURPHY, N.A. 


y () 6 1853— 


J 68—_UPLAND AND VALLEY 


yt Height, 22 inches; width, 16 inches 


Mp, My telf,: AN upright canvas with two or three spare trees at the 

LU Ve 4 right, with autumn-colored underbrush and a group of 
houses in the middle distance. A strangely shaped hill 
rises against a sky of rare technical beauty. Wandering 
through the fields is an old stone fence, with a green field 

(, \\ beyond. ‘This canvas has all the merits of the artist’s great 

mS. gifts. In color, tone, atmosphere and technique it repre- 
sents him remarkably. We are not asked to strain our 
imagination, but to look out, as through a window, at a 
quiet pastoral, and very American scene. 


Signed at the lower left, J. Francis Murpuy, 1919. 


% 
; 
3 


4 
Qe ee ee 


UPLAND AND VALLEY 
BY 
J. FRANCIS MURPHY, N.A. 


a 


HORATIO WALKER, N.A. 
1858— 


90° 
4 64—A STY-BOY FEEDING PIGS 


a 


| ge 


¥ 


Height, 18 inches; length, 24 mches 


A. RED-SHIRTED man has just filled the trough from his 
bucket. The hogs have greedily attacked the food, making 
confusion among the predatory fowl who scream and flut- 
ter about. If there were nothing in this work but the white 
pig, this painter would be acclaimed a master. Nothing 
could be finer than the drawing and modeling of this — 
animal. His greedy hoggishness is rendered as only a — 
master hand could do, and back of this technical excellence ~ 
is the artist’s vision. Moreland has painted pigs, but he 
never reached such a tonal gamut, the key of which is the 
white side of this great pig. The notes of red in the man’s 
shirt, the blue of the sky seen through the opening, are 
the contrasts, while in between run the values of gold and 
silver and green. From the littered floor of the sty, 
through every object out into the lovely bit of landscape, 
there is no halting or false tone. ‘The very homeliness of 
the subject is its beauty under the artist’s touch. 


Signed at the lower left, Horatio Waker. 


‘VN ‘UHWIVM OLLVUOH 


AL 


SOIld ONIGAAA AOG-ALS ¥ 


: P) DWIGHT W. TRYON, N.A. 
) of 1849— 


65—AUTUMN TWILIGHT 


Height, 16 inches; length, 24 inches 


To dream of that magic hour when day is finishing and 
night not yet come, to see gossamer trees a-tremble against 
the pale sunset sky and catch the slender sickle of the 
moon, tremulous as poesy, mystic as music,—such scenes, 
such pictures, have made this artist famous, and in no work 
has he so beautifully realized his dream. Seated in a fore- 
ground of great beauty, he has asked us to let the eye 
range along the skyline, where vision ceases and dream 
begins, and we shall feel Nature’s own mystery. 


Signed at the lower left, D. W. Tryon, 1911. 


‘V'N ‘NOAUL 'M LHOIMG 
Ad 


LHPITIML NWOLQV 


, T. W. DEWING, N.A. 
‘ar (esi 


66—GREEN AND GOLD 


As ever in viewing this artist’s work, we are seeing the very 
refinement of painting. He is never interested in the com- 
monplace or vulgar. The young women he paints are 
aristocrats. He chooses for them chairs of delicate pat- 
tern and shape. Long, flowing lines are a delight to him 
and the variants of his tones are as subtle as the coloring 
of a flower. The gold in this gown is like a fragrance. 
How perfectly the gown is disposed, to reveal and yet to 
enfold the figure! One feels the purity of the drawing in 
every chosen fold. How well the gown is worn, how quiet 
the hands and arms! No touch or line permits us to be 
drawn away from the dignity of the head, seen in three- 
quarters, as it is lifted above the slender, elegant shoulders. 
The touch of green in the supporting cushion is so beauti- 
fully chosen, yet the master touch in the composition would 
seem to be the falling scarf, which hangs straight down to 
the floor, supporting the entire composition. It is further 
aided by the placing of the jar. No mention of this pic- 
ture should omit the witchery of the background and floor, 
so simple, and yet, to one who knows, a most astonishing 
performance. Hat in hand, Ver Meer would have called 
this picture a masterpiece. 


Height, 24 inches; width, 22 mches 


ek Signed at the lower right, T. W. Dewine. 


: 


GREEN AND GOLD 
BY 


T. W. DEWING, N.A. 


ARTHUR B. DAVIES 
1862— 


/ 67—A GREATER MORNING 


Height, 23 inches; length, 28 inches 


=”. Great rocky headlands thrust out into a calm sea. ‘The 

sky is red-gold with the sun barely at the horizon’s edge. 

: There is the rolling, cloudy splendor of coming day. In 
the foreground, slowly awaking, is the figure of a woman, 
fecund, living in every full curving line—the living mother — 
of a day when nature is once more enthroned. Here is — 
no simple cliff by the sea, but the rugged shore of a con- 
tinent, of a world. A new Eve is here, a new world to be 
peopled and a new day must dawn. Out of the sea man 
shall win his meat, and labor hold sway; so here we see 
nude and stark the figure, virile, of a man with just so 
much of suggested toil as oar and rope may indicate. 
This is not a picture for the eye alone; quick imagination 
must hold sway, and sight gain aid from thought. At 
once it becomes a poem of man’s place and purpose on 
earth, simple but grand, while the coming sun gives prom- 
ise of a greater morning indeed. 


Signed at the lower right, A. B. Davies. 


SHIAVG ‘'d HOHLUV 
Aa 


ONINYOW YALVPAUD V 


CHILDE HASSAM, N.A. 


2 | 0 0 1859-— 


68—OCTOBER’S GOLD 


4 / Fiuvdk : Height, 37 inches; width, 24 inches — 


THE gods were very kind to this artist in permitting him 
to see, and see so well, this beautiful spot in nature. A 
great rocky hill rises against a quiet sky. The rocks push 
out from the brown-gold of leaf and grass; they are lichen- 
covered and their gray is in beautiful harmony with the 
other tones. From the center of the canvas three young 
trees with glorious heads of red-gold reach up into the 
sky, while about their roots bushes in golden leaf cluster. 
Almost it is as if a cluster of nymphs lingered there with 
haloed heads ashine. Across the hillside, already so beau- 
tifully decked, runs a stream of blue water, laughing in the 
light, leaping from rock to rock—pausing now in a still 
pool to reflect the sky, and again elfinlike to leap away in 
to the grass. The painter has fully realized his canvas, 
and made an ensemble of rare beauty. 


Signed at the lower left, Cuttpr Hassam, 1901. 


OCTOBER’S GOLD 
BY 


CHILDE HASSAM, N.A. 


ES Ee ee ee 
é Zz r i i . 
x ye = 


a 


QP WILLIAM M. CHASE, N.A. 


4 Oa A Mer : | 1849—1916 


69 FISH WITH STILL LIFE 


Height, 29 inches; length, 86 inches oe 


Tris is an example of the craftsmanship of this artist 
at its highest. The composition is made up of three great 
fish in the foreground; there is a black pot lined with brass, — 
another vessel almost lost in the shadows, and a piece of a 
green pottery which alone would be a masterpiece. The a 
modeling of the fish, the textures, the peculiar moist slip- oi 
periness of fish are all done with the brush of a magician. 
With pure pigment has he done all this, and done it as 
few men had the power to do. No finer example of his J 
art has appeared in a long time. ie) x” 


at 


| 
ved 


Signed at the lower left, Wo. M. CHASE. 


‘VN ‘ASVHO ‘W WVITIIM 
Ad 


AdIT TTILS ALIM HSI 


Wactth / 
— Saher 


DWIGHT W. TRYON, N.A. 


Cs / O- 1849— 


70—NEAR THE SHORE: MOONRISE 
Height, 30 inches; length, 52 inches 


THovcH painted some years ago, this is one of the very 
important works of this artist, done at a period when he 
was imbued with the love of that mysterious time in nature 
when the daylight is fading in the west, and the great, 
round moon just lifting above the eastern horizon. Time 
of mystery and music, it has held lure for thousands of 
painters, and no one has given it to us more tenderly than 
this artist. He has chosen an old house just over the brow 
of a long hill—perhaps the sea is Just beyond—there is a 
road leading into the canvas, an old stone wall wanders 
across the field, one or two trees, delicate and fine, are 
against the sky, breaking the long line, while near the cen- 
ter we see the pale but glowing moon just coming up. The 
sky is superb, and the whole work a poem of the twilight, 
fine and reserved in color. — 


Signed at the lower right, D. W. Tryon, 1887. 


‘VN ‘NOAUL 'M LHOIMG 


A 


ASTUNOOW *HYOHS AHL UPAN 


sic Oe NRE ONS AS 


a 
Ben pe 
ye HORATIO WALKER, N.A. 
Qn 1858— 


71—PLOUGHING IN ACADIA . 


Nth anand Delis 


Unoper a gray sky the morning light is breaking; dimly we 
see in the distance a little village; but the great mass of — 
the picture is taken up by the monumental group of three = 
horses, powerful and grand, who strain in the traces as | 
they drag the deep-sinking plough up the hill toward 
us. A man in blue shirt grimly holds the plough, while 
another holds the guiding reins and wields a long whip. 
The harness of the horses is decorated with great plumes 
made of sheepskin apparently. Here is a great epic of 
the fields—here is strength, the intensity of labor. How > 
grand is the volume of power in the concerted action of 
these horses! ‘The rhythmical swing of the line as the eye 
is filled with their straining forms, the tightened trace, the 
deep-sinking plough,—how supreme a moment it is! These 
great servitors of man, how wonderfully the artist has 
chosen them! The noble, white-faced creature who for 
an instant throws up his head as he sinks his shoulders 
into the collar—the proud, yet humble droop of the far- 
thest horse—are they not companions in a single purpose? 
Obedience and faith are here. Man shall become a tiller 
of the soil and in the sweat of his brow eat his bread. A 
great drama and a great work. 


Height, 45 inches; length, 66 inches - 


Signed at the lower left, Horatro Waker, 1886. 


‘VN ‘SUAMIVM OLLVUOH 
Ad 


7TGdFOV NI ONIHDNOTd 


LIST OF ARTISTS REPRESENTED AND 
THEIR WORKS 


CATALOGUE 
NUMBER 

BLAKELOCK, Ratpyu Arsert, N.A. 

Moonrise 29 

Encampment: Evening | 61 
BLASHFIELD, Envwin H., N.A. 

Harmonies 45 
BRUSH, Grorcrt DE Forest, N.A. 

Head if 33 
DAINGERFIELD, Exuiort, N.A. 

Moon Rising over Fog Clouds 24 

Meadow Mists and Moonlight 54 
DAVIES, Artruvur B. 

The Searcher 20 

Landscape 25 

The Call of Spring 31 

Forest’s Festival 42 

Body of Dew 46 

Reluctant Youth 50 

Breath of Autumn 57 

A Greater Morning 67 


DEWEY, Cuarites Metvitie, N.A. 
Morning 15 


Vea 


an ‘3 
NUMBER 


DEWING, T. W., N.A.. 


Young Woman 
The Waiting Athlete 
Green and Gold 


EATON, CuHartes WARREN j 


Moonrise - 


CHASE, Harry, A.N.A. 


Boats at Scheveningen 


CHASE, Wituiam M., N.A. 
Fish with Still Life 


CRANE, Brucr, N.A. 
Lowland Grasses 
Ripening Grain 


HASSAM, Cuirprz, N.A. 
Pont Neuf, Paris 
The Italian Bark—Gloucester 
Frenchman’s Bay, Mt. Desert 
The Water Garden 
Old Indian Trail to Sea, Connecticut 
The Butterfly 
A 1. News Depot, Cos Cob 
October’s Gold 


HOMER, Wruyxstow, N.A. 
Waiting 


JONES, H. Botton, N.A. 
Still Water 


CATALOGUE 
NUMBER 


me LHROP, W. L., N.A. 


Summer Afternoon 5 


LOW, Wut H., N.4A. 
A Little Loiterer 


LS) 


MAYNARD, Grorcet W., N.A. | 
An Offering . 1 


MINOR, Rosert C., N.A. 
Sunset 44, 


MOWBRAY, H. Stppons, N.A. 
Lais . = 16 


MURPHY, J. Francis, N.A. 


Meadow Streams 18 
Across the Fields 2 
Sunlit Stubble 38 
A Golden Afternoon 48 
An Old House 58 
Upland and Valley 63 


REHN, F. K. M., N.A. 


Incoming Wave 


“I 


RYDER, Axrsert Pinxuan, N.A. 


Landscape with Old Mill in Moonlight 28 
“Childe Harold’s Pilgrimage” 32 
Dancing Dryads 59 
The White Horse 62 


SIMaURTLEFF, R. M., N.A. 
Pool in the Woods 1 


capatog SUE 

TRYON, Dwicutr W., N. A. or 

In Picardie 

Open Sea 

—_ An Autumn Day 

4 Apple Blossom Time 
Village Street 
Glastonbury Meadows 
Buzzards Bay Shore 
A New England Pasture 
White Houses 
Harbor Lights 
Autumn Twilight | 
Near the Shore: Moonrise 


TWACHTMAN, Joun H. 
Lake under the Hills 


VEDDER, Enxinv, N.A. 
Le Mistral 


WALKER, Horatio, N.A. 
Milking 
A Canadian Pastoral 
A Siesta | 
A. Sty-boy Feeding Pigs 
Ploughing in Acadia 


WHITTREDGE, Wortuineton, N.A. 
Brook in the Woods 


EW NEANGE GA Ned 


Sunset 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


APPRAISEMENTS AND INVENTORIES 


OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
| AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


WORK 


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